The Presets
Interview by Jaclyn Marinese
Photography by Abbey Braden

The Presets, Julian Hamilton and Kimberley Moyes, both have a background in classical music, but luckily for us, their creative interests didn’t stop at Mozart. Though the two met while studying theory and music performance at Sydney’s Conservatorium of Music, they have gone on to progress their talents into the world of electronic dance music. There are plenty of tired-legged, sweaty post-Presets show-goers out there that are surely thankful these guys decided to drop the sheet music and move into the world of dance floor mayhem creation instead. The band’s first release was the 2003 EP Blow Up, followed by a more mellow release, Girl and the Sea, in 2004. Now, after some extensive touring, ‘Sup met up with The Presets just in time for the release of their debut album Beams, which features twelve tracks of pretty powerful dance music that has been rocking parties all across the world.

Can you give us a little background on The Presets?
Julian: We met at university in Sydney where we were studying music. I liked Kim’s shoes, he liked my haircut. We both liked the Pet Shop Boys. We realized we had to make music together. Ten years later, we’re still doing it.
Kim: When we met, I was studying a classical percussion degree and Jules was studying piano and music education. I had a band called Prop and Jules found a cool keyboard under his dad’s bed and then joined the band and made spacey sci-fi noises. Somewhere towards the end of this band’s life, Jules and I began mucking around by jamming with some synths and drums. We thought we had tapped into the beginnings of something good. We started writing songs in my kitchen, and sending demos out to a very small number of labels, I think three. We signed a deal with the devil’s son, a guy called Pav [the Modular Records label head], and now we can’t sleep or have a moments rest cause he torments our souls.
Do you remember some of the first experiences you had that sparked your interest in pursuing music as a career?
Kim: I had a pretty intense, formal music education. I went to a music specialist high school and was always off at band camps in the school holidays and playing in orchestras on the weekends. I had a little garage band when I was about 13. We used to play covers of the Cure and the Sex Pistols. I knew from a pretty early age that music was the place for me.
What is your most memorable show to date so far and why?
Julian: My most memorable show was our first U.S. performance, a Friday night party in NY. We had no idea what to expect form the US audiences – but it ended up being the maddest party. The only lighting they had was these fairy-lights strung up on the ceiling above us, which luckily, were controlled by us on stage too. Halfway through the set I turned them off and the room was blanketed in complete darkness. The crowd suddenly came alive. You could taste their sweat. It’s amazing the way people dance when no one is watching.
Kim: I think our album launch in Sydney last September was a pretty amazing feat for us. It was at one of the largest venues in Sydney, not a stadium size obviously, and I think we were a bit worried about numbers. Anyway, we were in sound check at about 6pm and then we heard the news that we had sold it out!

It seems like Modular as a label has been taking some risks on new sounding artists and as a result they are putting out some really great music. How did you connect with them?
Julian: We had interest from a couple of other labels – but Modular was the only real choice for us. They were the only label that seemed to understand what we were trying to do even if we weren’t exactly sure at the time. Pav, the label boss, is considered a real taste-maker in the Oz music scene. Whenever he signs a new act to Modular most of the other major labels in Australia scramble to sign acts that sound similar.
Your stage show is a bit unconventional. Do you mind explaining what it is you guys are using up there?
Julian: It’s actually not as complicated as you might think. Kim plays drums and I sing. Then we have an iPod which provides a few little extra beats and bass lines. We both have a Korg MS20, the keyboard that makes that “weeeeee waaaaa” siren sound, and I also play a Roland RS-09, which sounds like orchestral strings if they were played on a space station.
Kim: Jules also sings through some effects pedals so his voice sounds a bit crazy sometimes. We also have a bit of a backing track that has some extra beat, bass and keyboard sounds on it.
What was your mindset was going into the album?
Julian: I think one of our goals was to complete an album that didn’t reference too much of what is happening in dance music today. Of course there are a couple of obvious dance-floor type tracks on the record, but usually, if we were working on a song and it started to take on an obvious style, we’d try to fuck it up.
I heard that one of your songs was used The O.C. How did that feel for you guys?
Jules: Great. Ask me again when the check arrives in the mail.
Kim: So happy! Things like that give us a real buzz. It’s great when you can tell all your friends that your song is going to be on their favorite television show.
Also I heard something about an orchestra covering one of your songs. What was that about?
Kim: The Melbourne Symphony played the last track on our album for the closing ceremony of the Commonwealth games that was held in Melbourne in March. It was a huge honor to be included in that ceremony, the music was played when they handed all the flags back to the representatives of each country, our mums were very proud!
What is coming up next for The Presets? What should people be looking out for? And what are your hopes for the group?
Julian: Lots and lots of shows. People should try and come to show if they can. As for hopes for the group, I would like to start up a Presets franchise – Thailand Presets, Slovakia Presets, USA Presets, etc. Like what the Wiggles are doing. We could just go to the beach in Sydney whilst all our little franchises tour the world performing our music.